FALL 2013

UNDERGRADUATE THESIS PREPARATIONS

AN EXPLORATION OF URBAN INTERVENTIONIN ORDER TO ESTABLISH IDENTITY OF PLACE

Chelsea Corrigan

Problem

Rationale of Study

Research Phase 1

Precedent Studies Phase 1

Form Studies

Research Phase 2

Precedent Studies Phase 2

Research Summary

Site Information

Program Phase 1

Program Phase 2

Thesis Summary

Images from W.H.W’s The Social Life of Small Urban Spaces

Images from Gary Hustwit’s Urbanized

Images of Militino by ACT Lighting Design

Images of Luminous Pathways by ACT Lighting Design

Images of Plug-In-Play by Rockwell Group

Concept Model 1

Concept Model 2

Concept Model 3

Other Exploratory Forms

Images of The High Line by JCFO & DS

Images of the Metropol Parasol by John H. Architect’s

Site Location Map

Surrounding Structures Map

Street Access Map

Creek Walk

Adjacent Lot

Existing forms of Urban Intervention

Existing Conditions Floor Plans

Adjacency Study

Public/Private Space Diagram

Public Space Diagram

Private Space Diagram

01 02 03 04 05 0607 08 09 10 1112 13 14 1516 1718 19 20 21 22

01 02

03-12 13-2021-30 31-3637-42 43-44 45-50 51-5657-64

65

TABLE OF CONTENTS LIST OF FIGURES

There is a great, and present diconnect between those who have made Syracuse their homes, the ones who have made it their homes for now, and the ones that are simply passing through.

While there is a metaphorical space that may be identified within the city of Syracuse, the downtown area holds the opportunity for growth and development through design.

The city of Syracuse is in need of a space that allows for multiple points of entry, and serves as a reflection of a group of people, ina shared location, at a moment in time.

PROBLEM RATIONALE OF STUDY INFORM

DISPLAYREFLECT

REVEAL

It is my hypothesis that by informing the residents and visitors of Syracuse through the collective disiplays of tal-ents, efforts, and ideas, we can reflect upon a shared time in this city in a meaningful way. This will ultimately reveal a deeper connection to a geographical location.

RESEARCH Phase 1

The Need To Belong Theory The Individual Within the Group: Balancing the Need to Belong with the Need to be Different By Matthew J. Hornsey and Jolanda Jetten

Digital Meaning Making Remix: The Art and Craft of Endless Hybridization By Michele Knobel and Colin Lancaster

Interactive Design New Modern: Architecture in the Age of Digital Media By Adi Shamir Zion

Cultures, The Traditional Shadow Play, and Interactive Media Design By Oguzhan Ozcan

Empirically Based Guidelines for the Design of Interactive Multimedia By Inwoo Park and Michael J. Hannafin

Interactions as a Medium in Architectural Design By Joanne Jakovich and Kirsty Beilharz

Sentient City: Ubiquitous Computing, Architecture, and the Future of Urban Design By Mark Shepard

The Urban Spectator: American Concept-Cities from Kodak to Google By Eric Gordon

Visual Literacy There are no Visual Media By J.T. Mitchelle

Visual Literacy and the Environment By Jean Trumbo

Documentaries The Social Life of Small Urban Spaces By William H. White

Urbanized By Gary Hustwit

RESEARCH Phase 1

The Need To Belong Theory

The Individual Within the Group: Balancing the Need to Belong with the Need to be Different

By Matthew J. Hornsey and Jolanda Jetten

Abstract:

Many theorists have wrestled wih the notion of how to people balance their need to be included in social groups with their need to be different and distinctive. This ques-tion is particularly salient to researchers from the social identity perspective, who have traditionally viewed indi-vidual differentiation within groups as a being inimical to group identification. In this article we present a number of strategies that people use to balance their need to belong with the need to be different, without violating social identity principles. First, drawing from optimal distinctiveness threory, we discuss 4 ways in which the need for belonging and the need to be different can be resolved by maximizing group distinctiveness. We then discuss 4 was in which it is possible to achieve identifica-tion. These strategies are discussed an integrated with reference to recent empirical research and to the social identity perspective.

As social beings, man kind has interacted with one another from the time that our spe-cies came to be. Whether that interaction be through physical proximity, or the written and spoken word. Such interactions would inevitably lead to the formation of unique and individual communities. At the root of each group lies a sense of unity and com-monality; a binding force of over arching themes among all its members. Through the article, “The Individual Within the Group: Balancing the Need to Belong With the Need to Be Different,” authors and psychologists, Matthew J. Hornsey of the University of Queensland and Jolanda Jetten of the University of Exeter, investigate behavioral tendencies of the individual within a group setting. Hornsey and Jetten highlight upon the dynamics and forms of interaction of the individual as a member of a particular group. This has led me to question how the study of traditional human social interac-tion will aid in the approach and understanding in the design of social spaces, as well as their potential. How are the behavioral tendencies of social interaction reflected through the communities they develop? How do they contribute to particular cultures as well as their sub-cultures? I was led to this article after viewing William H. Whyte’s film, “The Social Life of Small Urban Spaces - The Street Corner.” I was fascinated by the behavioral tenden-cies of the individual within a group setting; specifically the behaviors that contributed to the patterns communal acts paired with the ability to maintain individual ownership within the group setting. For example, a single individual may take part in the commu-nal act of sitting in chair within a city park, surrounded by others sitting in chairs found in the same park. Though the desire to first move that chair, even a matter of inches has created a source of differentiation, and therefor ownership. I believe that we must always first look to our past in order to fully understand, and actively participate in our future. With this stance, Hornsey and Jetten’s research and presentation began to play a seemingly poignant role within my own research in understanding the potential for socially productive interactions. I am interested to learn how the inherent need to belong as well as the desire to maintain and express an individual voice has transitioned into the behaviors we display in public spaces. What types of communities are formed as a result and what do they say about the individuals involved? I am intensely intrigued by dynamics of human interaction, and the creations that stem as a result. Though superficially, this article at times appears to be a “how-to” of strategic moves in establishing a balance of belonging paired with a sense of individuality within a group, I believe there is much to be learned of human practices within a communal environment through the listed scenarios.

RESEARCH Phase 1

Interactive Design

Interaction as a Medium in Architecture By Joanne Jakovich and Kirsty Beilharz

OVERVIEW >sensor based systems provide significant aesthetic opportunity in architectural design >dynamic responses to human needs >”expanding the creative palette of the architect to incorporate computer-mediated information exchange between inhabitants and environment” (and consequently inhabitants that are sharing a space, engaging in the same sensory experience at the same time) >mediums of space, light, form and material, and time >emphasis on human experience and behavior >human interaction with the constructed space

MERGING TRAJECTORIES >interaction is a temporal, and intangible form of communication >”responsive environments” >full body gestures are used to interact with spatially projected digital media >”construction of experience”

ARCHITECTURE >object or system intended for human use >System: a complex of interacting and interrelated components. contains a structure through behavior >Structure: interrelationships within a system. defines behaviors between components and overall system. May be FIXED, RESPONSIVE, ADAPTIVE, OR AUTONOMOUS. Consists of subjective mapping from elements of the human experience to elements of other components of the system (visual display, motion, etc).>Human Component: and equal and integrated part of the system. architecture is always concerned with human interaction >Architecture Plan: specified through structure, medium of implementation affects both the specification and the applied outcome (will dictate the experience of the user/inhabitant) >Artifact: a system upon or within which human patterns of behavior adopt and adapt the relationships initially specified in the structure.

MEDIUM >an intermediate condition between two states. the condition between states of intention and realization >a means of exchange. method of creative expression and interpretation. >medium is a method but not a material >Condition: state of transition/transformation. Transferring of information into another form of representation

INTERACTION >combined reciprocal reaction between two or more agents that have an effect on each other. >Agents: components of a system >may be the human, computer, building, or software. >non pre determined response >based on specific and contextual information >must contain a means of receiving information as well as interpreting, and consequently be able to provide feed-back >Feedback: reciprocated action. Directly or indirectly through the overall effect of system actions. Motivates and informs other actions. This allows for the development of a DIALOGUE. Rules of cause and effect

INTERACTION AS A MEDIUM IN ARCHITECTURE >a real time condition, feedback informs action, potential to communicate creative ideas, these ideas are inherent in the structure of the system, achieve functional an aesthetic spatial goals, exploratory gesture, passive perception>digital display with physical host, aesthetic qualities of the mode of interaction

RESEARCH Phase 1

Visual Literacy

Remix: The Art and Craft of Endless Hybridization

By Michele Knobel and Colin Lancaster

Abstract:

Digital Remix provides and educationally useful lens on culture and cultural production.

QUOTES FROM ARTICLE

“...cultural artifacts and combine and manipulate them into newkinds of creative blends.”

“...remix has been expanded to include music and sound as well as moving static images taken from films, television, the Internet, personal archives, and elsewhere.”

“Culture as a whole can be constructed as remix.”

“...original author’s creativity and remix it to our own lives, using it to extend our own ideas or to pro-duce an evaluation.”

“...part of any society’s cultural development.”

“...general condition of cultures: no remix, no culture.”

“...incresingly integral to how they make meaning and express ideas.”

“The word hybridization captures important dimension of the relationship between cultural develop-ment and remix practices.”

“...interesting questions might be posed about what gets remixed, how items get remixed, when remix begets innovation, and the direction this takes.”

“By the art of remix, we mean the aesthetics, appreciation, form, and composition dimensions of remix practices.”

“Craft of remix means knowledge of its technical aspects.”

“We define literacies as a ‘socially recognized ways of generating, communicating and negotiating meaningful content.’”

RESEARCH Phase 1

Documentaries

The Social Life of Small Urban SpacesBy William H. Whyte

Urbanized By Gary Hustwit

A lesson in the social and habitual patterns within a public space.

A lesson in the imporatance of effiency, productivity, and value.

figure 01

figure 02

PRECEDENTSTUDIES

Phase 1

PRECEDENTSTUDIES

Phase 1

MilitinoBy ACT Lighting Design

Moscow, Russia

“This project, developed by ADG Group and certified by BREEAM, is a complex of three buildings (120 000 sqm): “City Plaza”, the “Promenade” and the “Stage”. We aimed at creating the most authentic atmosphere for the visitors by using the best quality materials and followed the vision shared by “Blank Architects” and managed by Bird’s Eye View to offer an eco-friendly space and to promote a healthy style of living.Our main inspiration for the interior lighting came from fairytales elements, surrounding nature with references to the forest such as birch trees, leaf shaped skylights and birds’ nests. We ensured the right balance between the use of daylight and artificial light, enhancing the nature elements pres-ent in the architecture and design of the complex, while perfectly connecting them into the surrounding landscape.For the exteriors, we elaborated a con-cept and integrated specific lighting equipment to the buildings, which not only guide the visitors but also surprise and invite them to interact with their surroundings.”

figure 03

PRECEDENTSTUDIES

Phase 1

Luminous PathwaysBy the Quatier des Spectacles

Montreal, Canada

“In January 2005, the Quartier des Spectacles Part-nership of Montreal, an organization of area stake-holders dedicated to promoting Montreal’s cultural district, took on an ambitious urban-branding proj-ect: creating a cohesive identity for the 20 cultural venues and two public squares that make up the area. With art direction by branding experts Ruedi Baur and Jean Beaudoin, of Integral, the solution is a stunning architectural light show dubbed the Lu-minous Pathway.”

figure 04

PRECEDENTSTUDIES

Phase 1

Plug-In-PlayBy Rockwell Group

San Jose, California

“A performative celebration of city life and activity incor-porating physical and virtual activity into one cohesive spectacle, Plug-In-Play was a response to the theme of the San Jose’s 2010 biennial, “Build Your Own World.” Rockwell Group’s LAB built an interactive urban-scale projection environment at Richard Meier & Partners Archi-tects’s San Jose City Hall building. To create a space that responded to and was defined by a large network of con-nections and interactions, the LAB developed software to track virtual and geo-location (Twitter feeds, Foursquare check-ins, Flickr postings) as well as physical activity around existing and placed objects in the city hall. The physical objects—from traffic lights and picnic tables to bird feeders and hopscotch squares—were connected to the building via 4-inch-thick colored wires running to over-size versions of electrical plugs. All the activity was filtered and translated into an abstracted version of a cityscape projected onto the facade of the building, suggesting a new type of environment where the vitality and complexity with which people engage with their urban environments is more dynamically reflected. The conceptual origins for Plug-in-Play cover a broad span of architectural and technical innovation, but the title of the piece is a direct reference to Peter Cook’s 1964 project, Plug-in-City. This installation revisited that futuristic, urban infrastructure concept in seeking to demonstrate the interconnected-ness of the people and things through play, social media, and human interaction.”

figure 05

FORM STUDIESConceptual depictions of the relationship between the acts of informing, displaying, and reflecting.

Concept Model 1

figure 06

Concept Model 2

figure 07

Concept Model 3

figure 08

Other Exploratory Forms

figure 09

RESEARCH Phase 2

Identity of Place The Symbolism of Place: A Geography of Relationships Between Space, Power and IdentityBy Jerome Monnet

The City and Self-Identity By Harold M. Proshansky

Urban Intervention The Impact of Architectural / Urban Intervention of Community: Culture, Development, and UrbanismBy Hassan El-Mouelhi

RESEARCH Phase 2

The Symbolism of a Place: A Geography Between Space,

Power, and IdentityBy Jerom Monnet

Abstract:

“The relationships between space, power and identity are necessarily mediated by symbols. A symbol is a concrete reality (a building, a statue, a coin, etc.) that communi-cates something intangible (an idea, a value, a feeling) : consequently, a place of power is by definition a symbolic place, which is a vehicle for power in the spatial order and for space in the order of power. The symbolic mediations between these different orders of reality are therefore pro-duced and interpreted only in the context in which they emerge. A place can be considered as “ symbolic ” when-ever it means something to a group of individuals, in such a way that it contributes to giving an identity to the group. With examples taken across the Americas, this paper in-vestigates how symbolic places are produced and con-trolled by public authorities, civil societies and economic actors.”

KEY PASSAGES : OVERVIEW

“In a vast empire of signs constructed by human activity across the known an imagined world, how can symbols be rec-ognized?” Thoughts: materials in regards to space may be seen as symbols or symbolic as an extension to that particular location

“Symbols carry meaning that an individual or group endows it with.” Thoughts: This means that the symbolic nature of a space or object is specific to the contextual location and the people of that location. The space must be representative of Syracuse, and the creations, contributions, interactions, etc. of Syracuse. Symbols are realities, objects, or physical actions.

“A word is not a symbol since it does not exist without the power that informs it.”

“A symbol is a materiality that conveys the immaterial, a visible thing that shows the invisible, a gesture that signifies value. Thus, the symbol can be defined as a mediator between different registrers of human experience and communication.” Thoughts: Each area of the program may reflect in a symbolic way, a cultural or social contribution to the city of Syracuse. ie: The stair forms of the ampitheather become symbolic of the performance based creations, as well as the types of social interactions that may take place there ie: stair culture obsereved in Social LIfe of Small Spaces, Stairs of the Met...

“Human experience and communication have an irredicubly spatial dimension.”

“The usefullness of differentiating space by indentifying places by way of their symbolic load and power.”

“Symbolization can be seen as one of the major factors in transforming space to place.” Thoughts: Seen through potions,identity, permanence, reason for existing, relationship with certain values and meanings.

“This all contributes to the existential adbent of places in the eyes of those frequenting them or imagining them.”

“Beyond its practical function, by its form and by the way it is used, a place has a composite social contect that can be expressed in symbolic terms and these are themseleves determined by the historical circumstances in which they are used.” Thoughts: The inclusion and duality of public and private areas in my program shall be of great importance. This will allow for the identity of place to be temporal in nature, and truely refelective of a group of people within a shared location at a moment in time.

“Changes in scale and temporality should be apprehended as changes in symbolic efficacy.” Thoughts: This should be reflected in the division of space, and the space allocated to each component of the program.

RESEARCH Phase 2

The Symbolism of a Place: A Geography Between Space,

Power, and IdentityBy Jerome Monnet

Abstract:

“The relationships between space, power and identity are necessarily mediated by symbols. A symbol is a concrete reality (a building, a statue, a coin, etc.) that communi-cates something intangible (an idea, a value, a feeling) : consequently, a place of power is by definition a symbolic place, which is a vehicle for power in the spatial order and for space in the order of power. The symbolic mediations between these different orders of reality are therefore pro-duced and interpreted only in the context in which they emerge. A place can be considered as “ symbolic ” when-ever it means something to a group of individuals, in such a way that it contributes to giving an identity to the group. With examples taken across the Americas, this paper in-vestigates how symbolic places are produced and con-trolled by public authorities, civil societies and economic actors.”

KEY PASSAGES: SYMBOLIC PLACES AND PUBLIC SPACE

“The public place plays a determining role in the sumbolic efficicy of a place.”

“It is a space of freedom, free circulation, contact between sexes and different age groups, different social classes, ex-changes of ideas, goods, and services.” Thoughts: Ubran intervention as mediation

“It is a space of a public constraint. Application of rules and social norms of laws and morality and order.” Thoughts: Forms of intervention - creation of new cities, the definition of public places may vary from a square, wide av-enues, and architectural configurations.”

“The symbolic dimension is a vital and unavoidable need of human existance, because it enables the establishment of ties, and makes it possible to give meaning to the environemnt, and appropriate reality and render it intelligible. Thoughts: inform, display, reflect, reveal

PRECEDENTSTUDIES

Phase 2

PRECEDENTSTUDIES

Phase 2

The High Line By James Corner Field Operations

and Diller Scofidio

“The High Line is a public park built on an historic freight rail line elevated above the streets on Manhattan’s West Side. It is owned by the City of New York, and maintained and operated by Friends of the High Line. Founded in 1999 by community residents, Friends of the High Line fought for the High Line’s preservation and transforma-tion at a time when the historic structure was under the threat of demolition. It is now the nonprofit conservancy working with the New York City Department of Parks & Recreation to make sure the High Line is maintained as an extraordinary public space for all visitors to enjoy. In ad-dition to overseeing maintenance, operations, and public programming for the park, Friends of the High Line works to raise the essential private funds to support more than 90 percent of the park’s annual operating budget, and to advocate for the preservation and transformation of the High Line at the Rail Yards, the third and final section of the historic structure, which runs between West 30th and West 34th Streets.”

A space was identitifed in the form of an abandonded railroad. Transformed to place by reappropriation though materials, variety of form. Urban intervention through reappropriation. Variety in form an material allow for a vari-ety of social interactions and experiences. Allows for a change in perspective of surrounding areas.

figure 09

PRECEDENTSTUDIES

Phase 2

Metropol Parasol By J Mayer H. Architects

“The Metropol Parasol scheme with its imposing timber struc-ture offers a range of attractions and amenities to be used by the public. Such functions include an archaeological museum, a farmers market, an elevated plaza, and multiple bars and restau-rants underneath and inside the parasols, as well as a panorama terrace on the upper level of the parasols. Realized as one of the largest and most innovative bonded timber-constructions with a polyurethane coating, the parasols grow out of the archaeologi-cal excavation site into a contemporary landmark, thus defining a distinctive relationship between the historical medieval city and the contemporary city beat! Metropol Parasols mix-used multi-cultural program sets off a dynamic development for culture and commerce in the heart of Seville and beyond.”“The form of this building was inspired by the vaults of Seville’s expansive cathedral – I wanted to create a “cathedral without walls” that would be “democratic” – and also by the handsome trees already in the square.’’ Jürgen Mayer HThe design scheme and the idea of Metropol Parasol was to offer shade, a valuable ‘service’ in a city as sunny and hot as Seville, and so make the square, which used to operate as a parking lot more livable. Respecting the presence of the Roman ruins, the ar-chitectural planning was dealt in such a way as to leave the ruins undisturbed. Columns supporting the crown could only be posi-tioned in a few places, involving ambitious structure – designed with the help of the engineers Arup – to span the gaps between them. From these conditions came the mushroom stem-like tor-sos, a sufficient amount to include lifts and stairs, and a structural system using timber and steel, held together with high-perfor-mance polyurethane resin, tested to ensure it would endure even the highest temperatures in this spot. Among the project’s pride is that it is the world’s largest construction to be held together by polyurethane (foam seal).”

figure 10

RESEARCH Summary

As designers of the built environment, our work lies in the transitional creation from space to place. I have learned that it is our approach, and chosen methods of filling these spaces that allow for an identity of place.

My chosen method of filling the space I have identitfied within Syracuse has come through an exploration of urban interventions. I seek to take part in this great global in-tiative as a source of expansion upon the current efforts of growth within the downtown area. I aim to elevate the image and dialgue that surrounds this city through design.

As a part of my preliminary research, I vounteered at the Milton J. Rubenstein Museum of Science and Technology. From this expereince, I learned of the power of a desti-national location. This was place that visitors may seek out intentionally, but due to its proximity within the central business district of the downtown area, people had the ability to happen upon the site as well. The museum was a destination rooted in infor-mation, discovery, and leisure. These are themes that aim to address in my proposal. Though where the museum differs from my project, are the “entry points” that draw individuals to visit the location. The museum presents limited points of entry as it is a destination that is rooted in scientific discoveries. I aim to establish multiple points of entry through the development of a multi-use space, one that is not rooted in a single activity, or experience.

This intent is similar to the achievements of the precedent studies I have explored thus far. Each methof of urban intervention that I have explored are direct responses to their surrounding locations, and the people that they will serve. These responses can be seen through the sources of inspiration, the chosen location for the intervention, and the included forms as a promotion of social interactions.

This conceptual project will act as an intervention through mediation. A mediation be-tween the disconnected sectors of Syracuse’s demographic. This aspect of mediation will be seen through the divsion of space in relation to purpose and activity.

SITE INFORMATION

SITERationale

I have chosen to situate my project at the Mill Pond Land-ing Building at 327 W. Fayette Street, Syracuse NY. I decided upon this site due to five key affordances of the location.

First, is its proximity to the central business district. This will allow for exposure to my project, as well as potential participation of local vendors, strengthening the economic base of the downtown area.

Next was the street access from both W. Fayette and Walton Street. This will allow for greater accessibility to the site.

An extension of this comes with the adjacent lot. This may allow for potential expansion, the inclusion of outdoor fix-tures/facilities, and multiple points of entry.

The building is situated along the Creek Walk. This was desirable as it is a listed component along the Connective Corridor.

Finally, the site bears a relationship to existing forms of urban intervention within the downtown area.

figure 11

SITEFigures

figures 12 - 16

PROGRAM Phase 1

PROGRAMExisting Conditions

PROGRAMProposed Conditions

PUBLIC

Outdoor Fixtures/Facilities

urban furniture / public seatingpossible expansion of existing building interactive diaplays along perimeter Recreational Activities Transitional Space

Total Square Footage: ± 9,000 square feetTotal Proposed Square Footage: ± 9,000 square feet

The inclusion, and duality of public and private areas has become an integral component in the development of my program. This will allow for the indentity of this place to become temporal in nature, something that is truly reflective of geographical location, and its people, at a moment in time.

PUBLIC & PRIVATE

Ampitheaterurban furniture for public use presentation space for private usewill allow for visual and physical access to building at multiple entry points

Total Square Footage: ± 32,740 cubic feet Total Proposed Square Footage: 0 square feet

Veiwing Deckleisurely gathering for public useevent venue for private use

Total Square Footage: ± 3,274 square feet Total Proposed Square Footage: 0 square feet

Dining Rooma shared eating, recreational, or work space for public use instructional space for private use

Total Square Footage: ± 30,000 cubic feet Total Proposed Square Footage: 0 square feet

PRIVATE

Teaching Kitchenwill allow for participation among local vendors, restaurant owners, etc.

Total Square Footage: ± 2,000 Total Proposed Square Footage: 0 square feet

Gallerywill allow for participation and display of work by local artisans

Total Square Footage: ± 2,000 square feet Total Proposed Square Footage: 0 square feet

Staff Offices administrative activities

Total Square Footage: ± 2,000 cubic feet Total Proposed Square Footage: 0 square feet

Total Existing Square Footage: 29,466

Total Proposed Square Fottage: ± 9,000

*the remaining 3,370 that have been unaccounted for shall be dedicated to restrooms, storage, egress, and transi-tional spaces.

Outdoor Facilities

Ampitheater

Viewing Deck

Dining Room

Teaching Kitchen

Gallery

Staff Offices

Out

door

Fac

ilitie

s

Ampi

thea

ter

View

ing

Dec

k

Din

ing

Roo

m

Teac

hing

Kitc

hen

Gal

lery

Staf

f Offi

ces

Immediate Adjacencies

Close Adjacencies

Proposed Adjacencies

PROGRAM Phase 2

PROGRAM

The scope of my proposal will address the top three floors of the building, as well as the adjacent lot.

The public/private areas will be seen in th forms of an ampitheater, a viewing deck, and a public dining area. All of which will allow both physical and visual access to the building.

The public areas will be seen in the inclusion of outdoor facilities and fixtures, as well as sen-tient/interavtive displays. This will allow for the site to be responsive not only to the timely cul-tutal contributions within the city, but to the real time actions and interactions within the building.

The private spaces will be represented through a kitchen, that may host events sponsered by lo-cal restaurants, be used for the catering of events, or food retail, and finally the staff offices.

THESISSummary

This conceptual project will act as an intervention through mediation. A mediation be-tween the disconnected sectors of Syracuse’s demographic. This aspect of mediation will be seen through the divsion of space in relation to purpose and activity.

Existing in the age of digital and social media, the establishment, and communication of identity is one that is no longer bound by physical proximity. For this reason, I believe there is a greater need to exhibit the timely, and valuable contributions to a georgraphi-cal location within the spatial context.

I propose a multi-use space that will serve as a reflection of the city of Syracuse, in a timely manner. This will allow for the identification of my proposed space, to become a space whose identity is temporal, and not fixed in time. The inclusion and duality of public and private spaces will allow for the cohabitation of formal and informal activties, the leisurely and the productive. My exploration of existing forms of urban intervention have acted as a great source of inspiration in the devlopment of my thesis. They have guided my desire to design and environment that is reflective of the contextual geo-graphical location, and the people it will serve.

My project has aligned with the current efforts of growth that surround the downtown area of Syracuse, using design to strengthen the economic base, and elevating both the image and dialogue that surround Syracuse.

RESEARCH references

Scholarly Articles The Individual Within the Group: Balancing the Need to Belong with the Need to be Different By Matthew J. Hornsey and Jolanda Jetten

Remix: The Art and Craft of Endless Hybridization By Michele Knobel and Colin Lancaster

New Modern: Architecture in the Age of Digital Media By Adi Shamir Zion

Cultures, The Traditional Shadow Play, and Interactive Media Design By Oguzhan Ozcan

Empirically Based Guidelines for the Design of Interactive Multimedia By Inwoo Park and Michael J. Hannafin

Interactions as a Medium in Architectural Design By Joanne Jakovich and Kirsty Beilharz

Sentient City: Ubiquitous Computing, Architecture, and the Future of Urban Design By Mark Shepard

The Urban Spectator: American Concept-Cities from Kodak to Google By Eric Gordon

There are no Visual Media By J.T. Mitchelle

Visual Literacy and the Environment By Jean Trumbo

The Symbolism of Place: A Geography of Relationships Between Space, Power and IdentityBy Jerome Monnet

The City and Self-Identity By Harold M. Proshansky

The Impact of Architectural / Urban Intervention of Community: Culture, Development, and UrbanismBy Hassan El-Mouelhi

Documentaries The Social Life of Small Urban Spaces By William H. White

Urbanized By Gary Hustwit

Imagey www.thehighline.orgHigh Line Precedent Study

www.yatzer.comMetropol Parasol Precedent Study

www.rockwellgroup.comPlug-In-Play Precedent Study

www.actlightingdesign.comPhase 1 Precedent Studies

www.maps.google.comSatellite Imagery used to create Site Location Map, and street views in Figures,

ACKNOWLEDGMENTS

I’d like to thank my professors, Jennifer Hamilton and Zeke Leonard, and the entire design fac-ulty, and my fellow undergraduates for their guidance and support in establishing my identity as a designer.